摘要 朱銘今日的成就，應該沒有人會否定；但他過去所走過的痕跡，卻留下許多震撼性的議題。人們至今仍津津樂道，他一夕成名的傳奇性故事，許多人對他還停留在「素人」藝術家的形象。
然而，不論是傳奇性的故事，或是「素人」藝術家的印象，還是蜚聲國際的太極系列作品，都是在1970 年代發生。這個時代非常地關鍵，也非常地精彩。朱銘在這個時候與楊英風朝夕相處，也是在這個時候一夕成名，成為全國知名的雕塑家。因此，以朱銘作為代表，回顧1970 年代，成為非常有意義的事。
本文以「傳統．生活美學」、「學院．現代美術」、「蛻變．中西鎔鑄」三個面向，探析朱銘雕刻藝術風格及美學理論的轉變，並論及時代的氛圍與朱銘的關係。
AbstractFew people would doubt Ju Ming's achievement today. However, what he had done in the past has left some surprising issues. People like to talk about the legendary story of how he became famous overnight, and many of them still think of him as a "naïve artist."
The legendary story, the general impression of a "naïve artist" and
the world-famous Taichi series all happened in the 1970s. The decade was critical and remarkable. It was during that time that Ju Ming studied closely with his master, Yu-yu Yang, and acquired his fame overnight as a nationally known sculptor. Therefore, it is quite meaningful to take Ju Ming as a key example to review the 1970s.
This essay analyzes Ju Ming's sculpture style and change of aethsetic ideas from three aspects: "Tradition/Life Aesthetic," "Academy/Modern Art," and "Transformation/Mixing the East and West." It also discusses Ju Ming in relation to the zeitgeist.
KeywordsJu Ming, wood sculpture, sculpture, Taiwanese art, the Nativist Movement
